Wednesday, 7 January 2015

Area 51 Alien Interview- New Research

The following was
posted in the YouTube description box of a video uploaded on the 4th of
January 2015 by the user
"JennyArea51Insider":

My name? My name is...
it doesn't matter; just call me "Jenny". I was a scientist working
for... actually I'm not a hundred percent sure WHO I was working for. The truth
is, I was originally a scientist at an average pharmaceutical company
laboratory. One day somebody in a dark suit who didn't introduce himself came
to see me and said I'd been "selected". He offered me a job with five
times my current salary, no questions asked; well, I jumped at it on the spot.
I had to sign any number of secrecy papers, but I didn't stop to read the small
print. My mortgage was year in arrears, I was about to lose my house, my
husband was threatening to run off with the kids; what would YOU have done!? I
travelled to work every day from Las Vegas McCarren International Airport on a
Janet plane to the airbase you know as "Area 51"; I won't tell you
its real name. From there I got on a bus without windows and a dark curtain
over the driver's cab and we drove a few miles to... somewhere nearby, don't
know in which direction exactly. It was underground, don't know how deep; it
took three minutes down in a lift, that's all I can tell you. No stairs, no
fire escape. Armed security guards in masks everywhere! Guns pointing at you
every second! I can't give you too many details about my job; it might reveal
my identity and that of others. But basically I had to do tests on these...
things... creatures; I don't know what they were or where they came from, but
the word is our employers have their spacecraft in hangers at ground level. The
creatures were kept on the deepest level of the basement. Little short, spindly
humanoids. They were grey-coloured and had wrinkly skin, almost reptilian.
Their eyes!... Oh my God! They were like huge black holes! And if you looked
into them it gave you the strangest feeling, like they were reading your
thoughts. I had to analyze what they called "blood" and
"skin", but it was nothing like that from any animal I was familiar
with. I don't know if they were there of their own free will or they were
prisoners. Some of them died and once or twice we did a post-mortem. I had to
film them with a camera. At the end of the examination we always stored any
film, photographs and documents in a special vault with an electronic registry
system for checking items in and out. Anyway, yesterday after one of these examinations,
I had to stow the film and the registry computer crashed just after I'd scanned
the film in. It failed just in time before the door on the vault shut, so it
was left hanging open. I suddenly realized that as far as the records were
concerned the film was filed correctly with the door sealed, but in fact it was
still in front of me with the door open... if I took it out, nobody would know.
I never planned this, honestly! The thought never even crossed my mind before!
The idea just suddenly popped into my head and I acted instinctively. I knew I
had to hide it because our pockets and bags are searched and scanned. The film
was on a very small mini-disk so I ripped a hole in my stocking and shoved it
into my shoe. I pushed it down so it was under the arch of my foot and walked
off. I could feel it there, digging into the sole of my foot. I hoped that the
leather of my shoe would shield it from the body scanner we have to go through
when entering or leaving the complex. God, I was scared, because if it wasn't hidden
alright I'd be caught red-handed! People on the staff just
"disappear" every so often and rumour has it they're not just sacked.
But it was too late to turn back! Whew! The scanner didn't buzz. I tried hard
to look and act normal as we went up in the lift to the big enclosed car park
where the bus picks us up. When I got off the Janet at McCarren I almost fainted
with relief. Anyway I didn't go straight home but used a library many miles
away in another town; don't want my home computer to be traced. I've never had
a YouTube account before but it was easy to set one up anonymously. I had to
convert the files because they're in some very weird format, but I managed to
do it and so what you're seeing here is what I filmed. I think the world has a
right to know what's going on in secret deep below Area 51!... See here for the video:http://www.youtube.com/watch?v=_kO73W6Gr_Q.

The above makes disturbing reading. It's similar to what has
been posted many times all over the Internet almost since the World Wide Web
began. You may be wondering who "Jenny" or "JennyArea51Insider"
is and whether her story is real or not; let me tell you right now that is it not real. "Jenny" doesn't
exist; I invented her myself and completely made up the story you've just read.
The video link is one I corrupted which is why it's blank; don't worry it
wasn't taken down by the CIA before you got the chance to watch it. But if I
can do that so can many other people, and indeed they have. Normally
accompanying these angst-ridden blurbs are the videos themselves; I've found
several hundred on YouTube of varying degrees of quality and persuasiveness.
The most well-known is Ray Santilli's notorious "Alien Autopsy", now
completely discredited; but it's not the only one by far. However most of the
others are more recent and, as I say, fairly unconvincing. There are exceptions
though. I'd say generally older videos are more likely to be the real thing;
though not always of course, as in the case of the Santilli film. The reason I
trust the old ones more is because of the lack of very good and easily
accessible special effects that is the curse of the modern age; what I whinge
about here: http://hpanwo-tv.blogspot.co.uk/2011/06/fake-alien-videos.html.
This inundation of home Photoshopping has caused major obstacles for serious paranormal
research; there is now a catastrophic signal-to-noise ratio problem in UFOlogy.
It's sad because some of these videos could
be real, but how can we possibly sort the wheat from the chaff? I can walk
down a high street in Nairobi and
purchase a software suite, for an affordable price, that will give me the
ability to create realistic imagery that it is virtually impossible to prove as
fake. Photographic evidence simply does not carry the same weight that it used
to. It's a shame because if my fictional character Jenny has counterparts in
real life then what would they do? Send their film to the press? No, she'd
suspect the package would be intercepted. She would want to be able to publish
the evidence herself, instantly, to the maximum possible audience. The chances
are that a real person in that situation would indeed upload the material to
YouTube and other similar video sharing sites. Of course these video sites usually
have comments boxes under each video and how would they read?: "Another
fake", "Total BS", "Fake as Jordan's
tits!", "Pwned!" "Get a life, m8", "not another
one!". Therefore the people who make these fake videos are doing genuine
investigation a great disservice. Poor Jenny would become the ultimate little
boy who cried wolf, through no fault of her own.

The timing of the release of the Santilli film in May 1995 could
be significant, for reasons I'll detail later. It was a sensation across the
world and in August a US
network documentary was broadcast all about the film which achieved massive
viewing figures, see: https://www.youtube.com/watch?v=qyh36fQf7p8.
The high public approval of the film was not reflected within the UFOlogical
community. Very few experts thought it was real; most were either on the fence
or denounced it as a fake, including Philip Mantle who has written an essential
and definitive book on the subject, see: http://www.roswellbooks.com/autopsy/.
It didn't take long before gaps and inconsistencies emerged in the film and Santilli's
story, and his small cluster of supporters began to drain away; but it was not
until 2006 that Santilli eventually made a full confession. This was timed to coincide
with the premier of the Warner Brothers feature film all about him, Alien Autopsy, staring Ant and Dec, see:
http://www.imdb.com/title/tt0466664/,
but that was eleven years later. Throughout the intervening decade if you said
"alien autopsy" to anybody, almost all of them would immediately
think of the Santilli film. However during that entire fame, fortune and media
furore a second similar incident took place that received a fraction of the
publicity, in fact today it is virtually unknown outside the UFO community. On Friday July the 26th 1996, a man phoned
the Los Angeles offices of Rocket
Pictures, a film and TV production company, and claimed to be in possession of
a VHS cassette containing taped footage of an extraterrestrial being. The man
called himself "Victor" and gave no further information about
himself. Rocket Pictures asked to see the tape and Victor sent them a copy, not
the original. After viewing it they asked Victor if he would be willing to be
interviewed; he agreed, but only under very stringent protocols. Victor went to
extraordinary lengths to withhold his identity; he wore a wig and a mask over
his face, and he was shot in silhouette. He also used a sound modulator to
disguise his voice. He insisted that the interview be scripted with a list of
questions he had to approve first. He revealed that he had been present at Area
51 a short time before; Area 51 is a highly secret military compound in Nevada
USA rumoured to be the location of covert government UFO research. However he
wouldn't say what his job there is, or whether he was an employee, contractor
or visitor; only that he had cause to be present on the base for whatever
reason. His demeanour is very sullen and irritable; one gets the sense that he
feels frightened and insecure. He speaks slowly and carefully, as if
contemplating his words in advance. He chides the interviewer several times for
deviating from the script and at one point walks out of the studio and has to
be coaxed back. He gives a few details about how he managed to get hold of the
recording. The film archive at Area 51 was all being transferred from video
tape to digital disk and during this process some of it was inadvertently
mislaid in the incorrect data system and this was how it came into Victor's
possession. The film itself is silent; Victor says that the original does have
a soundtrack, but that he removed it from the copy because he's concerned that
it could disclose the identities of the people featured. The film is two
minutes and fifty-five second long and is filmed from a single static camera on
a continuous shot. The location is very dark and only a few small lights appear
to be lit. In the foreground two people sit with their backs to the camera,
half in and out of frame on each side. In front of them is what looks like
table on which are laid some unidentifiable objects; although one of them is clearly
some kind of electronic display which has a pulsating blue-white light. Another
object is set to the right of the table that looks like it might be some coat
hangers, although that resemblance is probably spurious. The background is
completely black and only two squares of light show which might be TV screens
or windows. It is later revealed that they are actually reflections from light
sources behind the camera on a glass partition that is placed between the
people and the table. A spotlight is shone at the end of the table revealing an
unearthly creature with a large bulbous head and huge black eyes. Its skin is
orangey brown or terracotta in colour. Its lower face is diminutive and seems
to consist of just a snout with a small mouth and no lips; no nose is visible,
although it turns out later that the being has a small one. The entity's shoulders
are visible and they are very small in proportion to its head by human
standards. The being moves its head smoothly at first as if looking around
itself, but then it slumps over; I get the feeling it is sitting on a chair of
some kind. It starts throwing its head around it fast jerky motions. The
pulsating light on the device on the table changes its rhythm, giving the
impression that this is some kind of medical monitor to which the being is
hooked up, although it doesn't resemble any conventional vital signs monitors that
are used in hospitals. The creature opens and closes its mouth over and over.
It appears to be in distress. The two people in the foreground begin moving
around too, as if concerned for the entity's wellbeing. Then two men emerge
from the background dressed in surgical scrubs, hats and masks and medical
gloves. They appear to be doctors and they begin holding the being's head and
examining its face with penlights. It's hard to be sure, but it looks as if red
liquid is issuing from its mouth and a part of its face which is where a nose
would be expected to seen; one of the medics definitely wipes the creature's
mouth with a cloth. On the bottom of the frame is printed DNI/27 and next to it is a time code which is set at 04:00:18
at the start; yet there are second fraction digits too, like an athletics
stopwatch. It's not clear whether this indicates an elapsed time or the time of
day. Victor says that "DNI" stands for "Department of Naval
Intelligence"; however there is no such organization, at least in the United
States. There is an Office of Naval Intelligence. Unless the "Department of Naval
Intelligence" is a codename for part of the black budget world.

Victor explains that this is actually an
"interview" in which the scientists on the project sit the alien
being down and ask it questions. He describes the footage as late in a series
of films made in a laboratory at "S4", a super-secret facility within
the already top secret Area 51 base. S4 is alleged to be subterranean and lie
underneath Papoose Lake, a dry lake bed south of Groom Lake where the main
"Dreamland" base is and another witness, Bob Lazar, has already gone
public about his service there. There are a number of aliens living at S4,
whether as guests or prisoners, nobody is completely sure. The reason there's a
glass partition is because it is actually a window; the alien is sitting in a
separate room which is hermetically sealed to protect it from infection. It is
very sensitive to terrestrial microbes. The being can't speak but can
communicate telepathically and so a human with psychic abilities, termed a
"telepath", needs to be present to interpret the being's thought
forms into human language. There are a number of researchers sitting on the
near side of the partition along with the psychic. Behind the camera there are
allegedly a number of other seats. The entity being filmed has been at S4 since
1989 and so we can date the time of the interview between that year and 1996
when Victor went public. Once or twice a month the researchers carry out these
"interviews" for a few hours; if they try to any more often or for
longer periods the alien becomes unresponsive. Victor describes this programme
as having limited success. Translation of its thoughts via the psychic is not
always reliable. When it comes to scientific subjects communication often
breaks down; the project's experts think this is because humans are not capable
of understanding the advanced level of knowledge that the being's species has
achieved. Interestingly the entity finds it easier to share information on
spiritual concepts like the nature of the soul, life after death and
reincarnation. It regards the body as a temporary material vessel or container for
an eternal aetheric spirit; a common concept in many of the human world's religions.
The reason the laboratory is so dark is because the aliens can't stand bright
light. Their meagre build suggests that they evolved in a habitat that has a
weaker gravitational field than that of the Earth and the creature did strike
me as finding it difficult to hold its head upright. It can breathe our
atmosphere with difficulty; this may well be one of the reasons these creatures
suffer from so many health problems. Victor says that the emergency response
from the medical team is far too slow and that the physicians chosen for the
project tend to be selected on the grounds that they're unlikely to spill the
beans rather than for their professional competence. Rocket Pictures decided to
ask some special effects and movie props designers for their opinions. These
were divided over the issue; some denounced it immediately as fake and Academy
award-winning Rick Baker said unequivocally that the alien was a puppet with an
operator sitting behind it in the dark moving it with his hand inside the head.
However renowned image analyst Jim Dilettoso said that he couldn't work out how
this effect could have been made. TV make-up expert John Criswell is more
cautious, but still concedes that special effects couldn't explain everything
and that if it were a fake, it was extraordinarily good. Like Rick Baker he
believed that the darkness of the scene was used to hide a puppeteer or
marionette strings. The viewpoint of those with a UFOlogist persuasion was
similarly mixed. Robert O Dean, a former NATO intelligence expert was very
upset by the video to the point that he wept; he's has a reputation on the
scene for being an empath. Abductee author Whitley Strieber said "I hope
to God it's fake because if it's not it makes me ashamed for mankind!" The
Skeptics will love this, but Rocket paid Victor a considerable amount of money
in rights for their use of the footage. Victor is unrepentant. He is aware how
the money angle will be interpreted by detractors, but he has endangered not
only his career but also his life; he needs a degree of financial compensation
and also the funds necessary to protect himself should the authorities attempt
retribution against him. Rocket eventually produced a TV documentary about the
Interview, presented by the actor Steven Williams who played the black "Mr
X" in The X-Files; it includes a
complete and uninterrupted playback of the footage under question at 31.35,
see: https://www.youtube.com/watch?v=XNtg7M4nqt4.
A few weeks later Victor was interviewed by Art Bell on Coast to Coast AM, see: https://www.youtube.com/playlist?list=PL413F395E60653660.
Victor's strategy is very different from other Area 51 whistleblowers like Bob
Lazar and David Adair. These men chose to reveal their identity completely and
hoped that nobody would dare to open fire in the middle of a crowd of people who
knew who they were. There is sound logic behind this; if Bob Lazar had suffered
any kind of illness or injury, or if he had committed suicide, after he came
out, it would prove him right in the eyes of many. It would therefore be
counterproductive for the authorities to carry out any kind of violent retaliation
against Lazar. Far better just let him ramble on and hope as few people as
possible took him seriously. Victor aggressively maintains his anonymity and
this has its risks. If he were to "fall under a bus", so to speak,
nobody would know. All that would happen is that people would stop hearing from
him and he would vanish. However Victor is careful to state in the documentary
that he has made plans in case that should happen, for a "dead man's
trigger" to ensure that the nature of his demise would be not be silent. I
imagine he hopes his former employers were all watching.

The reaction to the Alien Interview was comparatively negligible
outside the world of UFO and conspiratorial interest groups; as I said the
Alien Autopsy was enjoying the limelight, as well as having to endure
burgeoning scepticism and Skepticism. Research into the Interview failed to
turn up any further clues. Victor remained untraceable, unidentified and
enigmatic; nobody knew where he was, or even if he were alive or dead. The best
UFOlogists have the abilities and tenacity of Chandleresque detectives and can
usually shake some information from the tree, even if it is ambiguous and
disputed, as they very swiftly did with the Alien Autopsy; but the background
to Victor and his story remained completely nebulous. For a while there was
some speculation that Victor was actually Whitley Strieber, but that was
quickly discounted. During his 1997 Coast
to Coast interview Victor declared that this would be his last ever public
appearance. After the initial video analysis no further progress on the study
of the Interview footage was made until over seventeen years had passed, as
I'll detail later. However, in June 2008, totally out of the blue, Victor once
again contacted Rocket Pictures asking for a new interview and demanding
further payment for it. This time the interview was outdoors. The host picked
him up in a car and they drove to an isolated lay-by out in the country. There
were some theatrics to Victor's disguise this time; he wore a comical rubber mask
of the American statesman Donald Rumsfeld and carried a back-scratcher in his
hand. Eleven years had done nothing to lighten his mood; on the contrary, he
sounded more frightened and belligerent than ever. He was very unhappy about
his feature on Coast to Coast and
regrets getting involved. He is highly critical of Rocket and their treatment
of him. He also very vocally rebukes the UFOlogy community for what he sees as
their lack of proper investigation into the matter, unfairly I think; and for their
selfishness and egotism in promoting themselves personally. It's strange
because Victor expresses both annoyance at people for not debunking his video
at the same time that he boasts about how nobody has managed to debunk it.
Later on in the interview Victor becomes unwell; he begins panting and spluttering.
He pauses and bends down, in an appropriately similar manner to the alien in
the footage. He then goes on to talk about figures in government who are behind
the UFO agenda. Victor says that Dick Cheney, who was the vice-president at the
time, knows everything. Donald Rumsfeld was a "bombastic clown". This
is interesting regarding Victor's disguise; is it implying that Rumsfeld was
nothing but a pawn having his back scratched by those higher up who know
everything? He regards President Bush as an ignorant puppet; perhaps today President
Obama is the same. He then says that his "container has reached its
expiration date" which implies in the alien context that he is terminally
ill. Then in a chilling tone he predicts the end of the world very soon, but
doesn't elaborate how this might happen. He does tell us that it will happen
before the year 2017 and that it is directly connected to the relationship
between human leaders and the aliens at S4. Victor ends with a quote from the
1st century Greek philosopher Strabo which sums up his mindset at the time:
"When I am gone let earth and fire mix, it will mean nothing to me."
Rocket released the new interview as part of a special edition DVD which
includes both the original 1997 documentary and the 2008 interview, the edition
linked above, plus bonus features. It received moderate and limited attention;
after all it's just one more alien autopsy film, right?

That was pretty much where the situation remained for the
next five years; still nothing more surfaced; Victor's latest appearance led
nowhere. If his self-prognosis is correct then he must have passed away quite a
while ago. Then in 2013, from across the Atlantic, Andrew
Burlington a man from London began
releasing material onto YouTube that reawakened the debate. Operating under the
webname "Victor Nevada", Burlington
uploaded a series of multiple videos to his channel TheAlienInterview, see: https://www.youtube.com/user/TheAlienInterview.
I was contacted personally by Andrew Burlington and he sent me a special DVD of
additional material that has contributed to this article. After a painstaking
frame-by-frame analysis, the first thing he points out is something missed by
Jim Dilettoso, John Criswell and Rick Baker. The eyes of the being in the video
change shape; they're not fixed as they would be on a dummy, but dilate and
contract as if the creature has working eyelids. I'm not sure if this means the
being is capable of closing its eyes like a terrestrial vertebrate can, but it
does appear to have some kind of musculature in its forehead and eye sockets.
This kind of effect can be simulated in a model using robotic attachments
called "animatronics", rather like the model of the girl's head in
the movie The Exorcist; but this is extremely
difficult to do properly and very expensive, especially if the effect is to be
believable. It's beyond the capabilities of anybody but a professional film
studio. When the medics bring out their penlights we see the creature's
shoulders, upper arms and torso for the first time and it appears to be able to
move those too, albeit very feebly. It shrugs its right shoulder slightly when
the man lays his hand on it. Burlington
has also confirmed the presence of the red fluid issuing from the entity's nose
and mouth. The eyes move when the medics shine the penlight into the them too,
as if the creature's eyes are reacting to the sudden increase in light. It also
appears to have reflexes that respond to the environment around it. The
movement of the mouth is also more pronounced than was previously thought. The
researcher Sean David Morton found the electronic instrument with the pulsating
light interesting; the pulse changed at exactly the right time as the creature
became distressed. This would be hard to synchronize if it were a puppet. If
this device is some kind of medical monitor for the being's heart, or whatever
else it has that might be similar to a heart, then it responds directly to
every change in the creature's condition. Jaime Maussan showed the footage to a
cardiologist who agreed that the film was real for that reason; if the being
were a puppet how could the operator synchronize their own movements with the
light pulse? I wrote to Sean David Morton while preparing this review and he
comments thus: "I was there at the
START of the STORY! I am convinced the film is COMPLETELY REAL, and even those
who thought it was not, said that even a HOAX this good would cost hundreds of
thousands of dollars. THE HEART MONITOR IN THE BACK IS THE KEY! It has an ALIEN
HEARTBEAT and is PERFECTLY SYNCHED with every action on the screen".Burlington
also picks up on an error made by Dilettoso in the first investigation.
Dilettoso claims that the original footage, which the video was copied from,
was shot on film; this contradicts Victor's statement when he said that the
film was all digitally recorded onto video tape. The reason Dilettoso thinks
this is because of the two square lights in the background. He says that these
are TV screens and if a video shot includes a TV screenover you get an effect
of "Moire patterns", radiating interference lines on the image. I
would ask firstly why he assumes these square lights are TV screens. I can't
tell what they are; my first thought was that they were little windows. But
even if they were TV screens, Burlington
has spotted another problem. When the medics burst in you'll see that one of
them moves in front of one of the "screens". The only way this is
possible is if the footage is being shot through a glass panel and the square
light is actually a reflection off the glass of something behind the camera. If
so then this would back up Victor's testimony because he did say that there was
a glass partition between the place of filming and the chamber the containing
the alien. There's also a tantalizing link in the appearance of the alien
itself. According to some leaked documents discovered by Tony Dodd, the South
African Air Force shot down an unidentified flying object on the 7th of May 1989. This object came
to grief in the Kalahari Desert just over the border in Namibia
and it was secretly salvaged by the military; and then transported to the United
States, the inevitable end to any such event
it seems. The craft had two alien beings on board whose description match the
creature in Victor's film, the terracotta skin, the big black eyes, the
gourd-shaped head with bulbous protrusions at the back and sides. Burlington
has also found marks on the head which could match the injuries sustained
during the crash, as the South African documents reveal. This could also
explain the entity's poor health. What's more Victor said that these creatures
arrived at S4 in 1989, the same year as the Kalahari crash. It could be argued
that Victor made the story up by getting his information from simply reading
Tony Dodd's book, Alien Investigator,
where Dodd first reveals this information; the only problem is that this book
wasn't published until 1999, three whole years after the Alien Interview tape
came to light. One of Burlington's
most significant breakthroughs is something that might appear very obvious, he
brightened up the image. It amazes me that Dilettoso didn't think of that, not
least because it is the image in Dilettoso's own studio, screenovered in the 1997
documentary, which formed the data source for Burlington's
research. This makes me suspicious of Dilettoso; how incompetent can one be by accident? Or was he censored? What
Dilettoso and Burlington have both
done is brighten the image enough so that some features that are normally
shrouded by darkness are now visible. We can see the upper body of the creature
quite distinctly as well as the edge of the table, the pulsating light
instrument and more of the other equipment on it. We can see that one of the
people sitting in the foreground has a patch on their sleeve and an epaulette
indicating that it's a military uniform. However, most important of all, we can
see no other people in the scene. Rick Baker said that the alien is definitely a
large glove puppet, so where's the puppeteer? There is nobody sitting behind
the being with his hand inside operating the head. There are no marionette
strings; none can be seen at all even when the medics enter and shine their
torches around the place. What's more the medic's bodies would probably
interfere with the strings even if they were there. So, as Sherlock Holmes
said: "when you have eliminated the impossible, whatever remains, however
improbable, must be the truth."

For me the major smoking gun is the lack of confessions;
again it's worth comparing Victor's Alien Interview to Ray Santilli's Alien
Autopsy. As Philip Mantle details in his book, once the UFOlogists turned their
prying eyes on the Autopsy film and its background, it didn't take long for
Santilli's cards to fall to the table. The special effects designer, John
Humphreys, whom Santilli had employed to build the fake alien body and props, came
forward (he was also approached by Warner Brothers to work on their 2006 Alien Autopsy movie, what irony!), as
did the butcher who supplied the meat that made up the dummy's innards. Almost
as soon as the film had hit the screens a businessman called Spyros Melaris
told Mantle that he had funded and organized the whole enterprise. If, shall we
imagine for a moment, the Alien Interview video was also faked, why has the
same not happened? The making of such a production must have been at least as
intricate, expensive and demanding as the Santilli film. They'd have to find a
rich investor to fund the project, a location big enough to build a studio and
secluded enough not to arouse suspicion from neighbours etc. You'd need a large
team of designers to build the puppet; a far more elaborate affair than the one
Santilli laid out on that table in CamdenTown. This had to move, it needed
animatronic fittings. There were props like the light pulse machine and the
screens. There were the costumes, Victor's disguises and medical uniforms. The
cast of at least five people, as opposed to Santilli's three, would have had to
rehearse many times and it would only have been after a number of takes that they
could have got it right. So where are they? There must have been a considerable
number of people involved; why have not one of them spoken out? It really is a baffling
conspiracy of silence when you consider how lucrative the "I fooled the
world!" meme is nowadays. It has certainly set Santilli and Shoefield up
for life. This means that a large group of people are not only sitting on a
secret, they're sitting on a goldmine. Why? As John Criswell admitted, the
designer of the puppet could have got a job in Hollywood
easily; why haven't they? Or maybe they have; in which case they'd want an
achievement like the Interview on their CV. And weren't they tempted at some
point to brag about it to one of their chums at a drunken late night party in Beverly
Hills? The world of the movie special effects industry
is not a community of millions; most people in it must know most others. Could
they really keep a secret that big? No, nothing has come out at all about the
Alien Interview; nothing but a stunned, dumb, curious silence. Despite all the
investigations not a single clue has been so much as glimpsed that might expose
the hoax. On the contrary, all the research so far has led in the other
direction, towards the likelihood that the video is genuine; it really is a
film of an alien, and it really was smuggled out of Area 51 just like Victor
said it was. So if this is a real alien video what does that mean? We've pretty
much reached an impasse; where do we go from here? All we have are the words of
"Victor": electronically altered, anonymous, evasive. And the video
itself: mute, enigmatic, provoking. This stalemate is really caused by the
governments of the world's policy towards UFO's; they're to be kept secret from
the public at all costs, classified higher than the H-bomb, as Wilbert Smith
said. Progress to reveal the truth about the Alien Interview must now be part
of the greater strategic effort to gain full Disclosure on everything to do
with extraterrestrials, see: http://hpanwo-radio.blogspot.co.uk/2014/11/programme-113-podcast-stephen-bassett.html.
New information is emerging every day, like the recent revelations of the old
man known as "Agent Kewper" who mentions S4 and the aliens there,
see: http://vimeo.com/64939351. In the
face of all this the authorities obstinately stick to their story: "Thank you for signing the petition
asking the Obama Administration to acknowledge an extraterrestrial presence
here on Earth. The US government has no evidence that any life exists outside our planet, or
that an extraterrestrial presence has contacted or engaged any member of the
human race. In addition, there is no credible information to suggest that any
evidence is being hidden from the public's eye." (Source: http://www.paradigmresearchgroup.org/main.html)
In order to maintain such a simple and brazen falsehood it's likely that the
government uses a full spectrum of espionage and psychological warfare. This
includes disinformation, the positive seeding of inaccurate and deceptive
material to distract and confuse the target. This inevitably brings us back to
Ray Santilli's Alien Autopsy. According to Philip Mantle, Santilli was
something of a wheeler-dealer who simply wanted to earn a few bob. He had no
interest in UFO's and the paranormal; he just thought that the mythology of Roswell
was a lucrative market to exploit. Mantle knows Santilli and doesn't suspect
him of any deeper wrongdoing. I've never even met Ray Santilli and have no direct
evidence at all to suggest what I'm about to, but I offer it as a vague
hypothesis based on circumstantial evidence. You might have noticed it's
something I've been hinting at throughout this article. Is there some way the
Alien Autopsy film was created as a piece of disinformation? Or if not created,
does it owe its success to an intelligence operation streamlining its path to
publicity because it happened to be the right kind of material to use as
disinformation? For what purpose? For the purpose of distracting and repelling
people from the Alien Interview, and possibly other similar real alien videos.
You might wonder how this is possible or how that would work. It's easiest to
understand if you pretend for a moment that the Alien Autopsy film had never
existed; the chances are that the Interview would have received far more
attention from the media and the public. Instead it was drowned out by the
clamour of hype surrounding the Autopsy. The Autopsy was patently bogus;
everybody with any knowledge on the subject worked that out very soon after day
one. However as the slow, sweet, agonized train wreck of its demolition took
place under the floodlights and TV cameras of the world a very important
cultural and psychological concept was being implanted in the collective human
mind: a simple equation: alien video = fake video. This meant that the few members
of the public who did encounter the Interview would have turned away without a
second look; "It's alright Marjorie, it's just another of those silly
contrived space alien things students get up to, switch over to the EastEnders would you?" The people
of the world could have had access to a really interesting and... yes, I'll say
it... probably genuine video of a
secret interview with an alien, and instead they got a transparent farce of a
rubber mannequin filled with offal and two amateurish fools in beekeepers suits
plodding round it. At this point somebody is probably getting ready to leave a
comment explaining to me an obvious flaw in my hypothesis, that the Autopsy was
released a year before the Interview. How did the instigators of the
disinformation campaign know in advance that the Interview was about to emerge?
Well, in that case you assume the Interview footage was stolen very soon before
Victor's debut. I'm sure the authorities didn't know when, or even if, Victor
was going to go public with his scoop, but they may well have already known
that the footage was missing and that Victor had absconded; they would
therefore have feared exactly what was about to happen and taken precautionary
steps in advance to mitigate its impact. We don't know how long Victor had been
sitting on his secret before he called Rocket Pictures; perhaps for over a
year. What's more I suspect that the Autopsy might have been made not only
specifically to cover up the Interview, but also to be ready in case other
similar materials were leaked. A few years before the Autopsy came out the Cold
War ended. Despite all Mikhail Gorbachev's efforts to restructure it, the
Soviet Union collapsed; it was formally disbanded in December 1991 at which
point the KGB, its famous intelligence service, was closed forever. The
authorities knew very well that within the KGB's vaults lay millions of highly
classified files relating to all kind of sensitive subjects, including UFO
crash-retrievals that had taken place over the years in the USSR's
vast territory; like this one which I think is very persuasive: https://www.youtube.com/watch?v=0JAtIzZy0H0.
They knew very well that the haemorrhage of these files was impossible to stop
in the chaos of the transition to the new Russia and that all that information
would end up on the black market where anybody could get hold of one of the
files for the right price. The motivation for the Autopsy might have been to
head that problem off at the pass. This year marks the twentieth anniversary of
Ray Santilli's Alien Autopsy film and a number of events have been planned to
commemorate it, including new books, films and public meetings. This could be
an opportunity for the Alien Interview to reclaim its rightful place, one that
the Autopsy usurped, after all it's only one more year after that for the
Interview's second decade (hopefully Victor is wrong about his Armageddon). Or
will the original distracting hype about the Autopsy simply be refreshed for a
new offensive? The new Disclosure attempts by Stephen Bassett and others, see
radio show above, could make it a vital tactic against us. There's no way to
know for sure now, but I'm interested to find out and hope very much that the
Alien Interview's time is come. Thanks very much to all the researchers involved,
especially Sean David Morton and, more recently, Andrew Burlington. See here
for related information: http://hpanwo.blogspot.co.uk/2014/01/alien-autopsies.html.

Very interesting read Ben. Also like some of your Vids on YouTube. I would be ecstatic if we got disclosure in my lifetime, but can't really see that coming soon. Have to commend the powers in control thou, they are doing a great job in deceiving and manipulating the world ! Any ,alll the best mate

"It could be argued that Victor made the story up by getting his information from simply reading Tony Dodd's book, Alien Investigator, where Dodd first reveals this information; the only problem is that this book wasn't published until 1999, three whole years after the Alien Interview tape came to light."

Now, this Alien Interview story and Vitor first came to light in 1996.

However, I know that this 1989 UFO crash/retrieval was reported well before 1999, and well before Victor even came onto the scene with his story in 1996. Please see below:

didn't believe "jenny" from the get go. Now don't get me wrong, I will admit that I WANTED to, but my Bullshit meter started going off as soon as the word "selected" was used and went full to the right as soon as she stated that she was to lose everything and her husband was going to run off. It's too desperate, no one needs that shifty of a predicament in order to accept 5 times more money. Also, I wondered what would be so special about her in order to have been selected, surely not for her desperation. Which is the only reason given. Then there were her motives for taking the disc. What exactly were they again? She never in a million years would think it, and then just to do it for no reason other than availability is ridiculous. This from someone who already showed a penchant for losing, a willingness to go along, and no wonder or amazement concerning was she saw. The aliens are wrinkly, this is what caught her? She lacked the passion required to justify the motivation one would need to take the risk of smuggling out a vid. No shock or awe at what was being hidden. And the whole scenario concerning the vault was just confusing.

I get what you were doing, but you should have taken a little more time on Jenny.

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